Interviews with Anton Kroshechkin

At my core, I am a deeply creative person, and this inner creative drive is what motivates me every single day. For as long as I can remember, I have experienced the world through visuals, shapes, and colors. Becoming a designer was the most natural way to channel this intense creative energy into something tangible, functional, and meaningful.What motivates me most is the unique power of design to change reality. It gives me the ability to take an abstract idea, a dream, or a spark of imagination, and transform it into a real physical object or space that people can interact with. For a creative mind, there is no greater fulfillment than seeing your artistic vision merge with complex engineering to create something beautiful, comfortable, and useful for human life. Design allows me to keep creating without any boundaries, converting pure passion into solutions that elevate the everyday human experience.

I believe that a truly good design is defined by three fundamental pillars: functionality, justification, and attractiveness. For me, these are the exact criteria I use to evaluate any design.First, it must be fully functional and ergonomic; if an object or space fails to perform its primary purpose seamlessly, its design cannot be called successful. Second, it must have clear justification—every line, every material, and every choice made by the designer must serve a rational reason and solve a specific problem rather than being just a random decoration. Finally, it must be visually attractive and evoke an emotional response. When a project perfectly balances these three elements, it transcends mere utility and becomes a timeless masterpiece that naturally improves the user's life.

Dieter Rams is undeniably the main figure at the very top of my inspiration list. For me, he is the ultimate master who truly understands form, visual honesty, and the purity of design. His core philosophy of "less, but better" is a timeless guide.In my view, achieving simplicity and functional clarity is the hardest task for any creator, especially when designing massive, structurally complex transportation objects like superyachts. Rams taught the design world to strip away the unnecessary noise and focus on what truly matters to the user.

My favorite designs span different industries, but they all share a rare qualities: unforgettable identity, profound character, or absolute functional clarity.The Works of Dieter Rams: His creations for Braun are the gold standard of industrial design. I admire them because they prove that true beauty lies in visual honesty, strict discipline, and stripping away everything that is unnecessary.Motor Yacht 'A' and Sailing Yacht 'A' by Philippe Starck: In the maritime world, these two vessels are absolute masterpieces. I love them because Starck completely rejected traditional yacht stereotypes. He created radical, futuristic monuments that reshaped the entire history of superyacht design.Lamborghini Aventador Coupé LP700-4 (Matte Black): Filippo Perini's work on this car is a masterclass in aggressive, sharp aerodynamics. I love it because the design feels incredibly powerful, precise, and fast even when the car is completely stationary.The Darth Vader Costume from Star Wars (by John Mollo and Ralph McQuarrie): This is a phenomenal example of character and costume design. It uses a bold silhouette and contrasting materials to instantly evoke deep emotions and create a timeless, commanding cinematic icon.

If I hadn't become a designer, I would have fully dedicated myself to being a fine artist. Painting, drawing, and graphic art have always been essential parts of my soul and daily life. I would pursue creating art that sparks deep emotional and visual dialogues with people. In fact, I am already active in this field, and you can explore some of my artworks in well-known online galleries such as Saatchi Art and Fine Art America. For me, art and design are two branches of the same creative tree, so even without design, my life would completely revolve around creation and visual expression.

The projects that bring me the greatest satisfaction are my superyacht and explorer yacht concepts. Each of them represents a milestone in my creative evolution, and I am incredibly proud to have shared these visions with the global design world. My absolute favorites include:Count Stroganov (70m): My graduation explorer yacht project, named in honor of my academy's heritage, where my deep passion for maritime design fully matured.RAVEN (65m), Golden Arrow (90m), and ROCK (120m): Projects where I pushed the boundaries of aerodynamics, scale, and innovative spatial layouts.SEAMAID (124m): A concept focused on ultimate elegance and seamless integration with the marine environment.WHITE DRAGON (150m): My award-winning megayacht concept, which represents the pinnacle of my current work, merging fluid mythical energy with advanced engineering.

My ultimate passion and primary focus is yacht and superyacht design. I am deeply fascinated by the maritime world because a vessel is one of the most complex objects to design—it requires balancing strict naval architecture with ultimate comfort. However, I don't limit my creativity to just one industry. The philosophy behind my work is universal: design must always be created for people, making their lives fascinating, beautiful, and ergonomically comfortable.This human-centric approach allows me to expand my horizons. While superyachts remain my priority, I am equally inspired to apply my skills to designing motorcycles, interiors, everyday consumer products, or furniture. No matter the scale—whether it is a massive explorer yacht or a piece of home furniture—my goal is to ensure that engineering and aesthetics merge seamlessly, creating a space or object that is truly functional and joyful for people to live in and interact with.

It is impossible for me to name just one single design, as my inspiration comes from a synthesis of absolute functional purity and powerful emotional forms. If I had to highlight what shapes my design worldview, it would be a unique combination of five masterworks:First, Dieter Rams. For me, he is the ultimate icon of form, clarity, and design integrity. His philosophy of "less, but better" is the foundation of good design. On the other end of the spectrum, I am deeply inspired by design with a powerful character and bold geometry, such as the Lamborghini Aventador Coupé LP700-4 in matte black, and the iconic Darth Vader costume from Star Wars—both are masterclasses in creating a commanding, unforgettable visual presence.I also find immense inspiration in traditional Chinese dragon sculptures, where fluid, organic, and mythical motion is carved into physical form. Finally, in my own field, I greatly admire the radical avant-garde vision of the Motor Yacht 'A' and Sailing Yacht 'A'. They completely broke maritime stereotypes and proved that a yacht can be a monument of modern art. My favorite design is the intersection of all these worlds: where Rams' purity meets the fluid energy of a dragon and the bold, futuristic lines of an Aventador.

When I design, it feels like entering a state of absolute creative flow, where time stops. It is a moment of pure happiness for me. In those moments, I truly feel that design has no limits. The process completely consumes me, shifting from rational engineering into a vast space of freedom where anything is possible. Bringing something non-existent into the physical world, shaping objects that will live in harmony with people and nature, gives me an immense sense of joy.

For me, a successful design is one where engineering and art find perfect harmony, but its ultimate measure is how it serves people. A design cannot be called successful if it is only visually stunning but uncomfortable to use, or if it is functionally flawless but lacks emotional and aesthetic soul.True success lies in balance and ergonomics. It’s about creating an object or a space—whether it is a complex superyacht or a simple piece of furniture—where every detail feels intuitive, safe, and natural for the user. When a person interacts with a design and feels a deep sense of physical comfort and emotional connection, without even thinking about the complex engineering behind it, that is when the design has truly succeeded. Ultimately, a successful design improves the quality of human life and stands the test of time.

A designer is a bridge between the present and the future, and this role comes with immense responsibility. For society, our responsibility is to create safe, inclusive, and highly ergonomic environments that enhance the quality of human life. Design should never be self-indulgent; it must always elevate human well-being, bringing aesthetic joy and functional comfort to everyday experiences.When it comes to the environment, the responsibility is even more critical, especially in industries like yacht and transportation design. We must design with the future of our planet in mind. This means striving for efficiency, minimizing ecological footprints, and embracing sustainable innovations—whether through hydrodynamic optimization, eco-friendly materials, or cleaner energy solutions. As designers, we have a duty to ensure that the beauty we create today does not come at the cost of tomorrow's natural world. True modern design must harmoniously coexist with nature, preserving the environment for future generations.

Translating a deeply revered symbol like the dragon for a global audience required moving entirely away from superficial decoration. Instead, the cultural heritage serves as the primary guiding force for both the innovative nautical architecture and the spatial experience across the 150 meters of the vessel.To ensure the narrative remains genuinely authentic rather than simply ornamental, the symbolism is fully integrated into the functional and structural anatomy of the yacht. The defining mythological feature is embodied by the structural exoskeleton—the colossal carved form enveloping the minimalist hull. On the exterior, this structural form manifests as a tactile, three-dimensional scale pattern, turning the dragon's organic armor into a load-bearing protective shell.Internally, the cultural heart is anchored by the "Dragon's Eye," a multi-level circular atrium meticulously designed to channel natural light through the vessel's heart across four key decks. Finally, the legendary wisdom and forward-looking nature of the dragon are represented through sustainable technology, proposing the integration of a modular photovoltaic skin into the vessel's exterior. By merging the organic sculpture of the dragon with functional nautical architecture, the design ensures that every cultural element serves a spatial, structural, or environmental purpose for the next generation of maritime luxury.

I believe sustainability should become a natural part of modern yacht design rather than a separate collection of environmental technologies. When developing White Dragon, it was important for me to demonstrate that luxury, innovation, and environmental responsibility can successfully coexist within a single project.For this reason, features such as the hybrid hydrogen-electric propulsion system, ocean plastic collection filters, and the biomimetic hull coating were not conceived as standalone solutions, but as components of one integrated design philosophy. The goal was to explore how a yacht could not only reduce its own environmental footprint, but also make a positive contribution to the marine environment during operation.I believe this approach will play an increasingly important role in the future of advanced yacht and marine design. Owners and shipyards are becoming more interested not only in performance and aesthetics, but also in how emerging technologies can improve efficiency and support more responsible operation.For designers, this means our role is expanding. Today, we must think beyond form and functionality and consider the long-term environmental impact of the vessels we create. In my view, the future of the industry lies in finding the right balance between innovation, luxury, and respect for the ocean. White Dragon represents my vision of what that balance could look like.

One of the key ideas behind White Dragon was the belief that future luxury vessels should offer more than technological innovation alone. Technology is essential, but truly meaningful design emerges when innovation is combined with culture, emotion, and a strong connection to the natural environment.In White Dragon, the inspiration drawn from Chinese dragon mythology provided more than a visual identity. It helped shape the character of the vessel, expressing themes of strength, wisdom, protection, and harmony with natural forces. At the same time, the biophilic interior philosophy was developed to strengthen the relationship between people and the marine environment, creating spaces that feel calm, immersive, and connected to nature.These cultural and experiential elements were then supported by environmentally conscious technologies, including the hybrid hydrogen-electric propulsion system and integrated sustainability features. Rather than treating sustainability as a technical requirement, I wanted it to become part of the overall design narrative.I believe this holistic approach may become increasingly important for the next generation of ultra-luxury concept vessels. Owners are seeking experiences that are more personal, meaningful, and aligned with contemporary values. As a result, future yacht design is likely to move beyond pure performance and visual impact toward projects that combine advanced engineering, cultural storytelling, human well-being, and environmental responsibility within a single cohesive vision.White Dragon represents my exploration of that direction and my perspective on how luxury yacht design may continue to evolve in the years ahead.

The most critical challenge was not whether the exoskeleton could exist on the yacht, but how strongly the dragon should be expressed within the vessel's architecture. From the very beginning, the exoskeleton was conceived as an integral part of the yacht rather than a decorative element applied to it. The goal was to create a vessel that embodied the spirit and fluidity of a dragon while remaining recognizable as a sophisticated 150-meter megayacht.The difficulty was finding the right balance between symbolism and architectural clarity. If the dragon-inspired forms became too literal, the project risked feeling like a themed sculpture rather than a credible yacht concept. If they became too subtle, the emotional identity and narrative behind White Dragon would be lost.As the design evolved, much of the work focused on refining and simplifying the forms rather than adding complexity. Every line and curve was carefully evaluated to ensure that the dragon's presence was felt through the overall composition, proportions, and movement of the yacht rather than through direct imitation.This process ultimately deepened my approach to the project. It reinforced the idea that symbolism in contemporary yacht design is most powerful when it is integrated into the architecture itself. In the final design, the dragon is not an object placed on the yacht; it is the yacht. White Dragon became an exploration of how mythology, emotion, and marine design can merge into a single cohesive form without compromising elegance or credibility.

To be precise, since the White Dragon is a design concept, artificial intelligence was not used for engineering or technical calculations at this stage. My main focus was on the aesthetics, the lines of the hull, and the overall volume of the yacht. The entire core idea and the proportions were developed through my personal intuition and a lot of hand-drawn sketches.However, AI was a great assistant in my workflow when it came to execution. Designing a 150-meter yacht based on an organic form like a dragon is a challenge. Modeling a complex biological shape like the dragon’s head from scratch by hand would have taken too much time and creative energy. I used AI as a technical partner to quickly translate my sketches into a 3D shape that I could then build upon. I also used it during the visualization phase to generate the surrounding sea environment, which allowed me to create a cinematic atmosphere without wasting weeks on background details.The analytical or generative output didn't push me in any unexpected direction because its role was strictly focused on helping me visualize my own ideas, not inventing them. The final yacht looks exactly as I originally planned. That being said, in the next design phases, I can definitely see how digital tools could help to test different angles and variations of the exterior scales to catch the light perfectly. But for this conceptual stage, the lines and the character of the yacht are entirely human.

The central “Eye of the Dragon” atrium was designed as the spatial and conceptual core of White Dragon. Its placement at the heart of the vessel establishes a strong vertical continuity across all decks, counterbalancing the typically horizontal logic of yacht layouts. Instead of perceiving the yacht as a sequence of isolated levels, the atrium creates a continuous spatial experience defined by vertical transitions.Conceptually, it acts as an internal orientation system - a spatial axis connecting sea level, interior environment, and sky. The idea of the “dragon’s eye” was used not as decoration, but as a metaphor for perception and coherence within the vessel.Natural light plays a central role, constantly transforming the perception of space as it moves through the atrium and interacts with reflective interior surfaces and the surrounding marine environment.

The dragon-scale exterior evolved as a modular photovoltaic skin, where each element functions both as part of the visual identity and as an active energy-generating surface. Instead of separating ornament from infrastructure, the design integrates both into a single system.This approach transforms the exterior from a passive envelope into a performative layer, where material expression and energy production operate simultaneously.It was important that technology was not hidden behind aesthetics, but embedded within the architectural language of the yacht.

The exoskeleton was developed as an expressive structural system inspired by natural protective organisms. Rather than acting as a hidden frame, it defines both the structural logic and spatial openness of the yacht.By shifting load-bearing logic to the exterior, internal spaces become more continuous and less dependent on conventional partitions, enabling greater spatial flexibility.Biomimicry played a key role in this process, not as formal imitation but as a study of natural principles such as adaptability, efficiency, and multifunctionality.

Looking back at White Dragon, the most practical takeaway is that cultural references become most valuable when used as design principles rather than visual motifs.Instead of focusing on the literal image of a dragon, the project explored the underlying ideas associated with it in Chinese mythology - strength, adaptability, protection, and connection to natural forces. These principles informed both structural and spatial decisions.This approach can be applied beyond yacht design. When designers work with cultural context at the level of underlying logic rather than surface imagery, it leads to more integrated and meaningful solutions.Ultimately, White Dragon demonstrates that tradition and innovation are not opposing directions. They are most effective when cultural meaning is translated into contemporary structural, material, and technological logic.